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DeVotchKa gained mainstream exposure in 2006 via their Grammy-nominated score for Little Miss Sunshine, but the Denver band still cavort like daffy outsiders on their stirring fifth album, a sultry brew of Gypsy, Mexican, and pop ingredients that's adorably silly and unexpectedly moving.

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This style-fixated pair first appeared several years ago with a heat-seeking update of the Jesus and Mary Chain’s fuzz-soaked '60s-pop thing. But unlike the Reid brothers, singer/guitarist Sune Rose Wagner and singer/bassist Sharin Foo looked like people who’d rather be having sex in an alley than poring over Brian Wilson's old studio logs by candlelight.

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This Portland, Oregon quartet piece together a lysergic cocktail of stoner sludge, prog pomp, and rocket blastoffs on their second album. Pinning a heavy thump under the melodrama, they turn paradiddles on a dime, swirl toward the stratosphere, slink back into rainy-day cave dwellings, experiment with Moog and cello and woodwind and horns, even bang heads now and then.

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Psychedelic blues rockers Dead Meadow relocated from Washington, D.C., to Los Angeles last year, and their sixth album sounds reenergized by the scenery change. The trio still combine '60s garage jangle with thick jams that channel Iron Butterfly heaviness, but their new songs are sunnier and jumpier than 2005's dirgeful Feathers.

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Many decades before Chan Marshall got to Memphis, Karen Dalton was crafting achingly mournful cover-version masterpieces out of traditional folk, pop, soul, and country songs. Recorded in 1962 at a small club in Boulder, Colorado, these 21 tracks reveal Dalton's effortless picking and exquisitely mysterious voice, while she paints the

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On the last two Mountain Goats albums, singer/guitarist John Darnielle exchanged the densely detailed character studies of his earlier records for an introspective account of his